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Omni pro binaural microphone8/19/2023 I’m guessing that’s for two reasons – one, a marketing push around VR recording, but two, likely some system-on-a-chip developments that make this possible. There are a bunch of these microphones showing up all at once. That may prove useful for production applications other than just “stuff for VR.” Just like your computer can become a virtual studio full of gear, that single mic can – in theory, anyway – act like more than one microphone. So these spherical mics could model different classic mics, in different arrangements, making it seem as though you recorded with multiple mics when you only used one. These sorts of mic capsules are useful in modeling different microphones, since you can adjust the capture pattern in software after the fact. Once you have a mic that captures 360-degree sound, you can use it in a number of ways. The software encoding is part of what’s interesting here. The B360 ambisonics encoder from plug-in maker WAVES. (“Surround” here generally means the multichannel formats beyond just stereo ambisonics are a standard way of encoding full 360-degree sound information, so not just positioning on the same plane as your ears, but above and below, too.) Software processing so you can decode that directional audio, and (generally speaking) encode it into various surround delivery formats or ambisonic sound A mic capsule with multiple diaphragms for capturing full-spectrum sound from all directionsĢ. To do that, these solutions have two components:ġ. They’re single microphones that capture spatial sound, just like those stereo mics, but in a way that gives them more than just two-channel left/right (or mid/center) information. So all these buzzwords you’re seeing in mics all of a sudden – “virtual reality,” “three-dimensional” sound, “surround mics,” and “ambisonic mics” are really about extending this idea. Those in turn are especially useful in mobile devices. Eventually, microphone makers work out ways of building integrated capsules with two microphone diaphragms instead of just one, and you get the advantages of two mics in a single housing. And with stereo sound delivery, a bunch of two-microphone arrangements become useful ways of capturing spatial information. Plus, the very things that screw up that precise spatial perception – like reflections – contribute to the impact of sound and music in other ways.Īnd so we have stereo. Your ears and brain are able to perceive extremely accurate spatial positioning in more or less a 360-degree sphere through a wide range of frequencies. The reason this didn’t satisfy anyone is more about human perception than it is technology. And in fact, to this day there are plenty of one-mic recording rigs – think voice overs, for instance. The microphone technology itself may wind up being the future of recording with or without consumers embracing VR tech.īack in the glorious days of mono audio, a single microphone that captured an entire scene was … well, any single microphone. Once we’re talking virtual reality or you’re imagining people in goggles, Lawnmower Man style, we’re skipping ahead to the application of these mic solutions, beyond the mics themselves. Let’s back up from the hype a little bit here. But mics purporting to give you 3D recording are arriving in waves – and they could change both immersive sound and how we record music. Call it the virtual reality microphone … or just think of it as an evolution of microphones that capture sounds more as you hear them.
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